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From dungeon-like basements to worldwide phenomenon,  ADVENTURE NEVER ENDS: A TABLETOP SAGA explores how tabletop roleplaying games have fought their way through decades of trial by fire to emerge at the height of pop culture— now shaping and bringing together millions of lives through storytelling. The film takes a behind the curtain look at an open community of fans, as well as youth programs who use tabletop roleplaying games to promote socialization, team building, and empathy

Will Geer had a checkered life. A very reliable character actor in Hollywood movies in the late 40s, he was blacklisted in the early 50s because of his communist-related activities. When the blacklist was finally broken in the early 60s, directors started hiring him again. But by now, he was in his 60s himself and always played old men. Towards the very end of his life, he was cast as Grandpa Walton in the hit series “The Waltons, ” and became a much-beloved figure in American pop culture, despite the fact that he had been a communist and an uncloseted gay man.

Martin Scorsese spends an evening with larger-than-life raconteur Steven Prince-a former drug addict, road manager for Neil Diamond, and actor who memorably played the gun salesman in Taxi Driver-as he recounts stories from his colorful life (one of which later inspired a key scene in Pulp Fiction).

When she was a teenager, Anna Sten was already a star in Soviet silent movies. When talking pictures started, she moved to Germany and had an impressive career there as well. Samuel Goldwyn, a prestigious independent Hollywood producer, brought her to Hollywood in the hopes that he had discovered the next Garbo or Dietrich. But the projects he picked for her were all big flops. At the age of 27, she was a has-been and her career never recovered

Shot on vivid 16mm film over a three-year period, ANONYMOUS CLUB chronicles notoriously shy, Melbourne-based musician Courtney Barnett's ups and downs on the world tour for her album Tell Me How You Really Feel. Featuring Barnett's unguarded narration from her audio diary, recorded on a dictaphone provided by filmmaker Danny Cohen, the film delivers frank and unprecedented insight into Barnett's creative process, the sacrifices and inner conflicts set in motion by fame, and the sometimes dark backdrop to her whimsical, relatably poetic compositions

• Defining 'art'
• The nature, scope and protection of artistic freedom
• Censorship and restrictions
• Positive obligations in relation to artistic freedom
• Street art, graffiti, and art in public space
• Public morality, obscenity, and the arts
• Blasphemous paintings, cartoons, and other religiously offensive art.

"The book examines in detail the essence, nature and scope of artistic freedom as a human right. It explains the legal problems associated with the lack of a precise definition of the term 'art' and discusses the emergence of a distinct 'right' to artistic freedom under international law. Drawing on a variety of case-studies primarily from the field of visual arts, but also performance, street art and graffiti, it examines potentially applicable 'defences' for those types of artistic expression that are perceived as inappropriate, ugly, offensive, disturbing, or even obscene and transgressive. The book also offers a view on global controversies such as Charlie Hebdo and the Danish Cartoons, attempting to explain the subtleties of offenses related to religious sensibilities and beliefs. It also examines the legitimacy of restrictions on extremist expressions in the case of arts involving criminal arts, such as child pornography"-- Provided by the publisher.

“If the camera is predatory, then the culture is predatory.” In this eye-opening documentary, celebrated independent filmmaker Nina Menkes explores the sexual politics of cinematic shot design. Using clips from hundreds of movies we all know and love – from Metropolis to Vertigo to Phantom Thread – Menkes convincingly makes the argument that shot design is gendered. BRAINWASHED: SEX-CAMERA-POWER illuminates the patriarchal narrative codes that hide within supposedly “classic” set-ups and camera angles, and demonstrates how women are frequently displayed as objects for the use, support, and pleasure of male subjects. Building on the essential work of Laura Mulvey and other feminist writers, Menkes shows how these not-so-subtle embedded messages affect and intersect with the twin epidemics of sexual abuse and assault, as well as employment discrimination against women, especially in the film industry. The film features interviews with an all-star cast of women and non-binary industry professionals including Julie Dash, Penelope Spheeris, Charlyne Yi, Joey Soloway, Catherine Hardwicke, Eliza Hittman, Maria Giese, and Rosanna Arquette. The result is an electrifying call-to-action that will fundamentally change the way you see, and watch, movies.

Carmen de Lavallade and Geoffrey Holder, two living legends in the world of American dance, are the subjects of this intimate and revealing documentary. Carmen achieved notoriety in the early 1950s, as a lead dancer of incomparable beauty and grace with Alvin Ailey’s American Dance Theater. Geoffrey, large in life and an elemental force on stage, found fame not only as a dancer but also as an actor, soda spokesman and theater director. He and Carmen met in 1954 and married a year later. This exquisite documentary features candid interviews and glorious dance performances, with legends like Alvin Ailey, Herbert Ross, Lester Horton, Joe Layton, Duke Ellington and Josephine Baker, demonstrating the amazing talent and uninterrupted creativity of these icons of dance

L'Orchestre symphonique de Montréal and its famous conductor go on tour in the great northern tundra of Quebec to visit the Cree, Innu and Inuit communities and share with them an Aboriginal chamber opera where white people are taught to laugh, and by the same token to love more. Chaakapesh, The Rogue's Journey - written by Tomson Highway, composed by Matthew Ricketts and performed by l'Orchestre Symphonique de Montréal under the direction of Kent Nagano - is the most powerful and modern example of intercultural collaboration

Known as the “Father of Claymation, ” Will Vinton revolutionized the animation business during the 1980s and 90s, creating such iconic characters as the California Raisins and Domino’s The Noid. But after thirty years of being the unheralded king of clay, Vinton’s carefully sculpted American dream came crumbling down. Structured around interviews with this charismatic pioneer and his close collaborators, along with a treasure trove of clips of their work together, CLAYDREAM charts the rise and fall of the Oscar®- and Emmy®-winning Will Vinton Studios. Documentarian Marq Evans brings to life the battle between art and commerce in this affectionate, insightful portrait of an artist who put so much of himself into his craft

Go behind the scenes of the largest Vermeer exhibition ever mounted, now on view at the Rijksmuseum in Amsterdam. Capturing the imagination of the art world - with glowing reviews, global publicity, and tickets sold out through the entirety of its run - the Rijksmuseum's Vermeer retrospective is nothing short of an historic event. Suzanne Raes's film follows curators, conservators, collectors, and experts in their joint mission to shine a new light on the elusive Dutch Master. This fascinating documentary reveals everything from the quiet diplomacy required to get the Vermeers to the Netherlands and the new technical knowledge gained by scanning the paintings layer by layer, to the shocking news that one work may not be by Vermeer after all. In the process, we discover how Vermeer was able to depict reality so differently from his contemporaries. But above all, Close to Vermeer shows the infectious love Vermeer's art inspires. As one curator lovingly puts it: "A good exhibition should change your view of the world. Vermeer can really do that."

• Visualizing the Invisible: the Novels of Patricia Engel
• Queering Caribbean Identity & Language: LGBTQ+ Novels and Memoirs from the Colombian Diaspora; Jaime Manrique, Julián Delgado Lopera and Daisy Hernández
• Diasporic Hair: Mapping out Afro-Colombian Identity in the film La Playa D.C. (2012)
• Remixing, Repeating, and Reinterpreting: John Leguizamo on Being a Ghetto Klown
• Reappropriating Impositions: A Conversation with Gonzalo Fuenmayor

Veidt was a big star in German silent movies after his role as Cesare, the somnambulist in The Cabinet of Dr. Caligari. Like many other artists in Nazi Germany, he fled in 1933. He became a star in British films as well, but when Germany attacked London, he emigrated to the United States, where, for the most part, he wound up playing Nazis—a fate that befell many German refugee actors. Veidt died of a heart attack on a golf course in Hollywood in 1943

A half century after its release, Midnight Cowboy remains one of the most original and groundbreaking movies of the modern era. With beguiling performances from Jon Voight and Dustin Hoffman as two loners who join forces out of desperation, blacklist survivor Waldo Salt's brilliant screenplay, and John Schlesinger's fearless direction, the 1969 film became the only X- rated film to ever win the Academy Award for Best Picture. Its vivid and compassionate depiction of a more realistic, unsanitized New York City and its inhabitants paved the way for a generation's worth of gritty movies with complex characters and adult themes. But this is not a documentary about the making of Midnight Cowboy: it is about the deeply gifted and flawed people behind a dark and difficult masterpiece; New York City in a troubled time of cultural ferment; and the era that made a movie and the movie that made an era. Featuring extensive archival material and compelling new interviews, director Nancy Buirski illuminates how one film captured the essence of a time and a place, reflecting a rapidly changing society with striking clarity.

• Preventing violence in European public spheres
• Harun Farocki, civil imagination, and securitarian publics
• Thomas Hirschhorn, imagined communities, and counterpublics
• Henry VIII's Wives, populism, and preventive publics.

"In Don't Look Away Brianne Cohen considers the role of contemporary art in developing a public commitment to ending structural violence in Europe. Cohen focuses on art activism after the turn of the twenty-first century that confronts the slow violence perpetuated against precarious peoples. Exploring the work of German filmmaker Harun Farocki, Swiss artist Thomas Hirschhorn, and the art collective Henry VIII's Wives, Cohen argues that their recursive art practices offer a more sustained counter to the violence undergirding the public sphere than do artworks premised on immediate rupture. Their art reflects on a variety of flashpoints of violence and vulnerability in Europe, from the legacy of the Holocaust to Islamophobia and rising anti-immigrant sentiment. Because this violence has often cultivated fear-based publics, Cohen contends that art must foster ethical and civic relations between strangers across physical and virtual borders. In contrast to art-critical practices that privilege direct action in contemporary art activism, Cohen advocates for the imaginative, messier, often more elusive potential of art in changing mindsets and fostering a nonviolent social imaginary"-- Provided by publisher.

Paul Henreid, perhaps most famous for his roles in Casablanca and Now, Voyager became a star at Warner Brothers during World War II, as the exotic lead with the European accent. After the war, his contract was cancelled and he was left to his own devices. He continued acting and also began producing and directing. In his choices, both as actor and director, his work evinces an increasing bitterness and cynicism. A personal statement? Or a result of the unceasing political shifts of the times?

New York Times Notable Book Los Angeles Times Book Prize Finalist Wall Street Journal-One of Five Best Artist Biographies Edward Hopper's canvasses are filled with stripped-down spaces and unrelenting light, evocative landscapes, and the lonely aspects of men and women seemingly isolated in their surroundings. What kind of man had this haunting vision, and what kind of life engendered this art? No one is better qualified to answer these questions than art historian Gail Levin, author and curator of the major studies and exhibitions of Hopper's work. In this intimate biography she reveals the true nature and personality of the man himself-and of the woman who shared his life, the artist Josephine Nivison.
(source: Nielsen Book Data)

The screen is a neutral element in the film-going experience. Or is it? It projects dreams but is also the receptacle of our dreams. It’s the vehicle for delivering the image to an audience—but does it also watch the audience at the same time? Is it a complicitous membrane which audience members can penetrate and which interacts with the spectators, despite its seeming passivity? Maybe—to all of the above…

One man's wild, lifelong adventure of testing society's boundaries through his subversive art, FAR OUT ISN'T FAR ENOUGH combines traditional documentary storytelling with original animation culled from seven decades worth of art from the renegade children's book author and illustrator. Using a palette of 20th century events to paint an artist's epic yet controversial life story, the film offers a retrospective of Ungerer's life and art, and ponders the complexities and contradictions of a man who, armed with an acerbic wit, an accusing finger and a razor sharp pencil, gave visual representation to the revolutionary voices during one of the most tantalizing and dramatic periods in American history

Before Woodstock and Monterey Pop, there was FESTIVAL. From 1963 through 1966, Murray Lerner visited the annual Newport Folk Festival to document a thriving, idealistic musical movement as it reached its peak as a popular phenomenon. Joan Baez, Bob Dylan, Howlin' Wolf, Johnny Cash, the Staple Singers, Pete Seeger, Son House, and Peter, Paul and Mary were just a few of the legends who shared the stage at Newport, treating audiences to a range of folk music that encompassed the genre's roots in blues, country, and gospel as well as its newer flirtations with rock and roll. Shooting in gorgeous black and white, Lerner juxtaposes performances with snapshot interviews with artists and their fans, weaving footage from four years of the festival into an intimate record of a pivotal time in music-and in American culture at large.

Why preserve film in a world where audiovisual materials seem so readily available online? That is the key question is explored through interviews with film archivists, curators, technicians, and filmmakers including Costa-Gavras, Jonas Mekas, Patricio Guzmán, Ken Loach, Bill Morrison, Fernando Trueba, Wim Wenders, and appearances by Martin Scorsese, Barbara Rubin, Idrissa Ouédraogo, Ridley Scott, and Ousmane Sembene. Together, they explore what film preservation is and why it is still so important to preserve celluloid, even in an increasingly digital world. Thanks to the tireless work of these film professionals, many of whom work unrecognized behind the scenes, we are still able to watch films that are more than 125 years old. FILM, THE LIVING RECORD OF OUR MEMORY highlights the unique challenges of maintaining film, the cultural and political barriers to preservation, and the surprising risks of digital preservation. This work is critical because, as the film explains, so much of this heritage has already been lost forever

Calling on a wide range of her father's collaborators and fellow travelers, from James Franco to William Friedkin, to read from his autobiography, the filmmaker Samantha Fuller evokes the inimitable voice and spirit of her father, the legendary writer-director Sam Fuller. Shot entirely within "The Shack," as Fuller called the backyard writing refuge he filled with notes for future projects, the film follows Fuller on his path from New York tabloid journalist to Hollywood hyphenate including his formative experiences as an infantryman in World War II.

World famous Austrian artist Gottfried Helnwein takes on the contentious role of production designer for a never before seen opera written by Israel's most famous playwright, Hanoch Levin

Everyone is all masked up. We are all strangers to each other. Would we recognize each other without our masks? Not likely. We are hiding from a virulent disease, but at the same time, we are hiding from each other. Or are we? Who knows? Maybe, since we’re all masked up anyway, it’s a perfect opportunity to rob a bank

Martin Kosleck and Hans Heinz von Twardowski, two German actors, fleeing the Nazi regime, come to Hollywood to find work. Most of the time they are asked to play Nazi officers and are reminded all the time what they fled from. But you can never escape your accent. In a sense, they are ground up in the Hollywood system. Although they were stars who worked on the stage and in movies in Germany, in Hollywood they were minor character actors, completely unknown by movies audiences

From Monet and Matisse to Van Gogh and Warhol, Modern Art for Kids is a guide to 20+ renowned artists, designed for both adults and children to enjoy together.

The story of Vivian Liberto, Johnny Cash's first wife and the mother of his four daughters. Features never-before-seen footage and photographs. Meet the first Mrs. Cash as her daughters share first hand, and for the first time, the entire story of love, isolation, fear, heartbreak, and survival.

The musician Laurie Amat has heard a conspiracy theory involving Joseph Goebbels and the Nazis. Supposedly, on an international conference in 1939, the Nazis managed to change the global music tuning standard in an effort to make the masses more aggressive and easier to manipulate. This is the music pitch we listen to today. Worried about what other secrets sound holds, Laurie goes on an adventure into the unknown universe of sound

Saul J. Turell's Academy Award-winning documentary short PAUL ROBESON: TRIBUTE TO AN ARTIST, narrated by Sidney Poitier, traces his career through his activism and his socially charged performances of his signature song, "Ol' Man River."

One of the world's most elusive and admired choreographers, Paul Taylor was on the cutting edge of modern dance for over 60 years and helped shape the artform unti his death in 2018. Beginning in 2010 he allowed the camera to delve into his creative process. Centered on Taylor's guiding voice, audiences can see how a new dance gets hammered out to perfection, through sweat and inspiration. PAUL TAYLOR: CREATIVE DOMAIN is an inside look at a genius at work — creating something metaphysical from emotion, inspiration, and bodies in action

Movies about movies—they always seem to have scenes set in screening rooms. And we, the audiences, are invited in, to see how the film business works. The screening rooms seem to be sacrosanct chapels where one can worship but it’s also a place where the people behind the movie screens can let their hair down and reveal their most inner thoughts about each other. It’s a private place in a very public arena. It’s a microcosm of the world but it can also become the world itself

A subjective documentary that explores the numerous theories about the hidden meanings within Stanley Kubrick's film The Shining (1980). The film may be over 30 years old but it continues to inspire debate, speculation, and mystery. Five very different points of view are illuminated through voice over, film clips, animation and dramatic reenactments. Together they'll draw the audience into a new maze, one with endless detours and dead ends, many ways in, but no way out.

John Dall was in two great movies—Alfred Hitchcock’s Rope (1948) and Joseph H. Lewis’ Gun Crazy (1950). But, for some reason, it’s not enough for a career. The road to success in show business is lined with many pitfalls. And what do you do when you know the director preferred another actor but had to settle for you? Would it have made a different movie had he gotten that actor? Let’s try to find out…

Discover the vast and strangely beautiful places where things go to die and meet the people who collect, restore, and recycke the world's scrap. SCRAP scratches beneath flaking paint and rusting metal to reveal the beauty and pathos in the ugliness we leave behind.

On the outskirts of Beirut, Lilas and her thrash metal bandmates, Shery, Maya, Alma, and Tatyana (Slave to Sirens), have big dreams but few opportunities. When the band’s appearance at a UK music festival isn’t the life-changer they had hoped for, Lilas comes home to Lebanon on the brink of collapse. At the same time, the complicated relationship between Lilas and her fellow guitarist Shery starts to fracture. The future of her band, her country, and her dreams now all at stake, Lilas faces a crossroad. She must decide what kind of leader she will be, not only for her band, but also as a young woman struggling to define herself in Lebanon, a country as complex as each of the Sirens themselves

An exploration of our interest in stars on the screen. Their images never grow old but we do. We can love them but they never love us back—until we force them to acknowledge our existence by putting ourselves in the same frames that they inhabit. And, even then, they live in a rarified world of their own which we can never enter, frozen forever—on the screen and in our imaginations

In Hollywood's studio system, sets and equipment are used over and over again. Mark Rappaport shows not only opera boxes and stage rooms, which seem to be part of the permanent décor in MGM backstage musicals, but also curious connections such as a Spanish wall with orientalist ornamentation that appears in various films or the famous portrait painting by Gene Tierney in Laura, which surprisingly can be seen again in On the Riviera

• Intro
• Title
• Copyright
• Contents
• Foreword
• Museums and Activism: Slaying the Zombie Myth of Institutional Neutrality
• A Museum for the Path Ahead: New York City's Climate Museum
• Climarte Poster Project II: ur Future Depends
• Liam Gillick: Some Significant Equations
• Katie West: Clearing and Conversations on Country
• Peter Dombrovskis: Dombrovskis: Journeys into the Wild
• Katrin Koenning: Swell
• Bruised: Art Action and Ecology in Asia
• Vera Möller: A Thousand Tides
• Rebecca Mayo: It's in the Bag

• Alexander Boynes, Mandy Martin and Tristen Parr: Rewriting the Score
• Sarah McConnell: Here Today- Defending Takayna/Tarkine
• Yandell Walton: Shifting Surrounds
• Isadora Vaughan: Gaia Not the Goddess
• In the Valley
• Heather Hesterman: EduLab
• David Keeling: As the Light Falls
• Cameron Robbins: Remote Sensor
• Jane Burns: Listed
• Anne Zahalka: Wild Life, Australia
• John Wolseley and Mulkun Wirrpanda: Molluscs/Maypal and the Warming of the Seas
• The World Around Us and Our Life, Our World
• Yang Yongliang
• Imagining New Ways Forward: The Living Pavilion

• Ecofeminist Fridays: Reading as Ethical Encounter
• Thinking Trees
• Lara Stevens: Not Now, Not Ever
• David Finnigan: You're Safe Til 2024
• 2019 Program
• Acknowledgements
• Index

Go back to the glory years of Balanchine’s New York City Ballet through the remembrances of his former dancers and their quest to fulfill the vision of a genius. Opening the door to his studio, Balanchine’s private laboratory, they reveal new facets of the groundbreaking choreographer: taskmaster, mad scientist, and spiritual teacher. Today, as his former dancers teach a new generation, questions arise: what was the secret of his teaching? Can it be replicated? Filled with never before seen archival footage of Balanchine at work during rehearsals, classes, and in preparation for his most seminal works, along with interviews with many of his adored and adoring dancers and those who try to carry on his legacy today, this is Balanchine as you have never seen him, and a film for anyone who loves ballet and the creative process

The female trans*body becomes a political means of expression in both public and private space. The black, transgender singer Linn da Quebrada deconstructs how alpha males conceive of themselves. Kiko Goifman and Claudia Priscilla's documentary portrays a charismatic artist who reflects on gender and has an extraordinary stage presence

Christo and Jeanne Claude’s first grand-scale urban project, wrapping the oldest bridge in Paris—the same bridge where Christo courted Jeanne-Claude. A love story set in the heart of Paris: between a refugee artist and a French General’s daughter; between a 400-year-old bridge and the people of Paris

Nominated for an Academy Award, CHRISTO’S VALLEY CURTAIN celebrates the Bulgarian-born artist’s dramatic hanging of a huge orange curtain between two Colorado mountains. Since the late 1950’s, Christo’s large-scale temporary works of art have helped change our perception of art and society

The fall of 2021 marked the 50th anniversary of Fiddler on the Roof. Narrated by Jeff Goldblum, FIDDLER'S JOURNEY TO THE BIG SCREEN captures the humor and drama of director Norman Jewison's quest to recreate the lost world of Jewish life in Tsarist Russia and re-envision the beloved stage hit as a wide-screen epic. Oscar-nominated filmmaker Daniel Raim puts us in the director's chair and in Jewison's heart and mind, drawing on behind-the-scenes footage and never-before-seen stills as well as original interviews with the original cast and crew. The film explores how the experience of making Fiddler deepened Jewison as an artist and revived his soul

• Introduction
• 1. Deficits of Belonging
• 2. Legacies of Displacement
• 3. The Classical and the Informel
• 4. The Living Method
• 5. Elective Affiliation.
• (source: Nielsen Book Data)

This book reevaluates the art of Gerhard Richter (b. 1932) in relation to his efforts to achieve belonging in the face of West Germany's increasing individualism between the 1960s and the 1990s. Richter fled East Germany in 1961 to escape the constraints of socialist collectivism. His varied and extensive output in the West attests to his greater freedom under capitalism, but also to his struggles with belonging in a highly individualised society, a problem he was far from alone in facing. The dynamic of increasing individualism has been closely examined by sociologists, but has yet to be employed as a framework for understanding broader trends in recent German art history. Rather than critique this development from a socialist perspective or experiment with new communal structures like a number of his colleagues, Richter sought and found security in traditional modes of bourgeois collectivity, like the family, religion, painting and the democratic capitalist state. The book will be of interest to scholars working in art history as well as German history, culture and politics.
(source: Nielsen Book Data)

The extraordinary life story of the celebrated artist and writer, as told through four decades of intimate letters to her beloved mother Barbara Chase-Riboud has led a remarkable life. After graduating from Yale's School of Design and Architecture, she moved to Europe and spent decades traveling the world and living at the center of artistic, literary, and political circles. She became a renowned artist whose work is now in museum collections around the world. Later, she also became an award-winning poet and bestselling novelist. And along the way, she met many luminaries-from Henri Cartier-Bresson, Salvador Dali, Alexander Calder, James Baldwin, and Mao Zedong to Toni Morrison, Pierre Cardin, Jacqueline Kennedy Onassis, and Josephine Baker. I Always Knew is an intimate and vivid portrait of Chase-Riboud's life as told through the letters she wrote to her mother, Vivian Mae, between 1957 and 1991. In candid detail, Chase-Riboud tells her mother about her life in Europe, her work as an artist, her romances, and her journeys around the world, from Western and Eastern Europe to the Middle East, Africa, the Soviet Union, China, and Mongolia. By turns brilliant and naive, passionate and tender, poignant and funny, these letters show Chase-Riboud in the process of becoming who she is and who she might become. But what emerges most of all is the powerful story of a unique and remarkable relationship between a talented, ambitious, and courageous daughter and her adored mother.
(source: Nielsen Book Data)

• Introduction
• Methodology and Research Design
• Theoretical Contextualisation of 'Outsider Art' in Cultural Anthropology
• Historical Readings and Discursive Genealogies of 'Outsider Art'
• Contemporary Discourses and Media Representations of 'Outsider Art' in the UK
• Introducing the Individual Behind the 'Outsider'
• Conclusion.

What does it mean to be called an "outsider"? Marion Scherr investigates structural inequalities and the myth of the Other in Western art history, examining the role of 'Outsider Art' in contemporary art worlds in the UK. By shifting the focus from art world professionals to those labelled "Outsider Artists", she counteracts one-sided representations of them being otherworldly, raw, and uninfluenced. Instead, the artists are introduced as multi-faceted individuals in constant exchange with their social environment and as employing diverse strategies in dealing with their exclusion. The book reframes their voices and artworks as complex, serious and meaningful cultural contributions, and challenges their attested Otherness in favour for a more inclusive, all-encompassing understanding of art.

For two brief weeks in May of 1983, Christo and Jeanne-Claude’s piece entitled Surrounded Islands blossomed on the waters of Biscayne Bay, Florida. Eleven scrub-pine islands were surrounded by 6.5 million square feet of bright pink fabric. A three-year struggle, a work of art; a political drama interwoven with two other projects-in-progress; the wrapping of the Pont Neuf in Paris and the Reichstag in Berlin